International Journal of Business and Economy

eISSN: 2682-8359 | Vol. 2, No. 1, 47-54, 2020

http://myjms.mohe.gov.my/index.php/ijbec

International Journal of Business and Economy (IJBEC)

eISSN: 2682-8359 [Vol. 2 No. 1 March 2020]
Journal website: http://myjms.mohe.gov.my/index.php/ijbec

“VISIT TRULY ASIA MALAYSIA”: ANALYSING VMY 2020

TOURISM PROMOTIONAL VIDEO

Norhanim Abdul Razak1*

1
School of Tourism, Hospitality & Event Management, University Utara Malaysia, Sintok, MALAYSIA

*Corresponding author: [email protected]

Article Information: Abstract: Tourism Malaysia has adopted the tagline

Article history:
“Malaysia Truly Asia” in projecting this country to tourists
since 1999. Branding Malaysia as an Asian destination has
Received date : 11 December 2019 been a well-established theme in marketing Malaysian
Revised date : 29 January 2020 tourism. As a result of this, Ministry of Tourism, Arts and
Accepted date : 19 February 2020 Culture has retained Asia as a unique tourism brand and
Published date : 5 March 2020
identity in the launching of Visit Malaysia 2020 campaign.
To cite this document: However, the slogan has been slightly rephrased to “Visit
Truly Asia Malaysia”. Because of the importance of Asia as
Abdul Razak, N. (2020). “VISIT TRULY a Malaysian tourism brand for two decades, this paper aims
ASIA MALAYSIA”: ANALYSING
VMY 2020 TOURISM PROMOTIONAL
to explore how the national tourism authority of Malaysia
VIDEO. International Journal Of portrayed the recent tourism campaign “Visit Truly Asia
Business And Economy, 2(1), 47-54. Malaysia” in the official promotional video. Utilising a
discourse analysis method, visuals and the textual content
through lyrics of the song were assessed to uncover how this
country has been framed as part of the theme “Visit Truly
Asia Malaysia”. The assessment of the promotional video
uncovered that the projection of “Truly Asia” primarily
reflects multi-ethnicity of Malaysian societies and unity in
diversity as core attractions in the official video. This is
manifested through the portrayal of their colourful cultural
heritage attributes, particularly traditional costumes,
traditional music and performing arts, musical instruments,
and gastronomy. Diverse spectacular natural resources,
such as tropical rainforests, wildlife, beaches and
highlands, are also parts of “Truly Asia” projection. The
overall assessment of the promotional video identified that
the portrayal of Malaysia as a tourist destination adopted
some attributes of Orientalism, particularly fascinating
traditional cultural heritage attributes and natural
resources in order to highlight Otherness uniqueness and
exoticness. Aspects of modernity and familiarity are
depicted through cosmopolitan cities and Western lifestyles.

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 International Journal of Business and Economy
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Keywords: tourism promotion, Orientalism, Otherness,

discourse analysis.

1. Introduction
Tourism is one of the primary industries and service sectors in Malaysia. The importance of this
industry is reflected via the announcement of the recent budget for 2020 in which the Ministry of
Tourism, Arts and Culture (MOTAC) was one of the main recipients of funding allocated for 2020.
RM1.1 billion has been allocated for MOTAC and RM90 million from this amount will be used for
tourism promotion (Jun, 2019). With the launch of Visit Malaysia 2020 (VMY 2020), this country
aims to attract 30 million tourist arrivals with RM100 billion tourist receipts (Ministry of Tourism,
Arts and Culture, 2019). However, the target for 2019 is slightly lower with the projection to lure
28.1 million tourists with receipts of RM92.2 billion. The performance of Malaysia’s tourism from
the perspective of tourist arrivals was not entirely positive as the number of tourist arrivals for 2018
dropped 0.4% from 2017 (Syed Jaafar, 2019). He further elaborates that in 2018, Malaysia only
received 25.83 million tourists in contrast to 25.95 million tourists in 2017. Chan (2019) claims that
Malaysia received 116,105 less tourists in 2018 compared to 2017. Statistical analysis identified that
Malaysia received fewer tourists primarily compared with neighbouring nations Singapore and
Brunei (Chan, 2019). As published in the WTO website, in the Asian region, the rank of Malaysia
went down from number three in 2017 to number five in 2018. Prior to 2018, Malaysia has been
among the top three countries that attracted relatively higher number of tourists in the Asian region,
together with China and Thailand for several years. However, in 2018, Japan and Hong Kong
surpassed Malaysia based on tourist arrivals. As the year 2019 is coming to an end shortly, and VMY
2020 is starting soon, it is interesting to uncover the number of tourist arrivals for this year and the
following year.

Based on the development, it is observed that the tourism industry has experienced a tremendous
growth in Malaysia and it is one of the sectors that is rising quickly (Set, 2014). Economically,
tourism play a significant role in generating income to the country. Besides its contribution to the
country’s economic prosperity, tourism also generate considerable foreign exchange earnings and
employment opportunities (Mosbah & Al Khunja, 2014). Although Malaysia offered numerous
tourism products to tourists, a number of niche markets, including culture and heritage tourism,
medical tourism and education tourism, are among the categories of products gaining popularity
during the last decade. The launched of VMY 2020 shows that VMY has been utilised for the fifth
time since this campaign had been introduced in 1990 (Nik Anis, 2019). Because of the importance
of VMY 2020 campaign to the success of Malaysian tourism industry, it is therefore important to
examine how “Visit Truly Asia Malaysia” has been portrayed in the official promotional video. This
tagline is unmistakably significant as it has been utilised to market Malaysia for 20 years.

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2. Literature Review
It is reflected within fairly early studies that delved into the area of tourism marketing (e.g. Britton,
1979; Silver, 1993; Selwyn, 1993) that the promotion of many non-Western countries is embedded
within the former colonial portrayal of Orientalism. The New World Encyclopaedia (2019) states
that the term ‘Orientalism’ originated from the Latin word ‘oriens’, which signifies the “east”, and
the term can be literally translated as the “rising sun”. Studies relating to Orientalism is not complete
without mentioning the well-known figure in this academic field, Edward Said. It is claimed that
Said pioneered ‘Orientalism’ concept and coined the term as well. However, it is important to note
that the idea surrounding differences between East and West civilisations has existed long time ago
prior to Said’s work. In his book titled ‘Orientalism’ published in 1978, Said offers insights into the
Orient, especially from the Western perspective. Said (1978) claims that Orientalism is a powerful
way for the West to dominate the Oriental world. Haldrup and Keofoed (2009) maintain that
Orientalism as presented by Said is the opposite of the Occident. Traditionally, Europe was
considered to be "The West" or Occident, and "The East" referred to as “the Orient”. The East or the
Orient is often presented consisting of characteristics of Otherness in contrast to the West or the
Occident. Khan (2015) states that the term ‘other’ can be described as “something different from the
familiar, the known and the norm” (p.64-65).

It is shown in the work by Echtner and Prasad (2003) how different areas of Third World countries
are marketed by travel agencies from North American based on the typical stereotypes associated
with Orientalism. These projections are communicated through images of the unchanged,
unrestrained, and uncivilised as core components in the promotion of the Orient, Latin America and
the Caribbean (Echtner & Prasad 2003). Similarly, Echtner (2002) uncover almost same results in
examining the contents of destination marketing of the Third World. Among major themes in selling
the Third World tourism destinations mainly revolves around the portrayals of the past, images of
paradise and traditional culture in order to cater to Western traditional perceptions of the developing
countries.

Jamerson (2017) investigates the representation of Orientalism through tourism digital media, the
TripAdvisor. Although TripAdvisor is regarded as a credible and trusted source of information by
consumers, it is can still project Orientalism discourse through digital form of communication.
Jamerson (2017) argues that TripAdvisor sometimes published prejudiced and narrow-minded views
of Otherness destinations and people as genuine and sincere consumer reviews via their online
website. (Stiffler, 2014) analyses the portrayal of Orientalism in the context of food outlets in the
United States by Arab American Christian communities. It is identified that Arab Americans
participated in self-Orientalist effort in selling their cuisines by emphasising their Middle-Eastern
heritage which are acceptable to the American market. Stiffler (2014) cited that Arab American
made attempts to position their restaurants with aspects of the Arab culture which are familiar to the
Western world including naming their restaurants such as Aladdin and Ali Baba which are
mentioned in the Arabian Nights Tales.

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Tourism marketers believed that Orientalism attributes can boost the appeal of Oriental destinations.
Consequently, it is found that Oriental countries themselves incorporated Orientalism characteristics
in tourism marketing, which is referred to as self-Orientalism. For instance, Ooi (2005) argues that
Orientalism has been re-introduced to market national museums in Singapore. In order to enhance
the uniqueness of Singapore as an Oriental destination, attempts have been made by three national
museums in Singapore to utilise and created Orientalism themes to highlight their charms as
Otherness and Asian identity. Yan and Santos (2009) explores how Orientalism has been depicted
in the promotional video “China, Forever” produced by China National Tourism Administration
(CNTA) in 2003. Themes of Orientalism are apparent through projections of unchanging, romantic,
mythical, and feminised China which are embedded within traditional Western framework of the
Orient. In addition to these Orientalism portrayals, “China Forever” promotional video featured
modern China which juxtaposed Western notion of the East (Yan & Santos, 2009).

Khan (2015) states that Malaysia and Singapore are two Asian countries that employed ‘Asia’ as a
brand in their tourism promotions. These two countries acknowledged multi-ethnic groups living in
Asia as unique selling points in destination marketing. Khan (2015) further explains that Singapore
constantly utilises this theme in marketing its tourism, using themes such as ‘Instant Asia’, ‘New
Asia-Singapore’, and ‘Uniquely Singapore’, while the promotion of Malaysian tourism has been
using ‘Truly Asia’ in the highlighting unity in diversity. The tagline ‘Truly Asia’ is synonym with
Malaysia and this slogan has been launched in 1999 (Kaur, 2019). The continuous use of this slogan
has been accredited to its effectiveness in attracting tourists and showcasing the core attributes of
this country to the world (Kaur, 2019). During the launch of the Visit Malaysia Year 2020, it is
announced that the tagline “Truly Asia” will remain in usage. As marketing effort play significant
role in attracting and enhancing positive image of the country, it is therefore useful to evaluate the
current tourism campaign launched by Ministry of Tourism, Arts and Culture (MOTAC) for VMY
2020 including the official promotional video.

3. Method
The analysis of this paper adopted a discourse analysis method in exploring how “Visit Truly Asia
Malaysia” has been projected in the official promotional video of Visit Malaysia 2020. The analysis
involved assessing components of the official of promotional video, including song lyrics and visual
images that were featured in the recent campaign. Historically, discourse analysis, also known as
discourse studies, started in the 1970s as a scholarly study (Nordquist, 2019). Discourse is described
by Foucault (1972) as “a body of knowledge composed of particular ways of talking and seeing,
forms of subjectivity, and power relations” (cited in Yan & Santos, 2009, p.299). It is used to refer
to approach to examine written and verbal language more than their literal meanings (Salkind, 2010).
In general, it is a qualitative research approach that involves the study of language in a wider context
(Nordquist, 2019). The essence of discourse analysis is how language is used in the context of social
world (Salkind, 2010).

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In this paper, discourse analysis is utilised to investigate how “Visit Truly Asia Malaysia” has been
projected via the official promotional video for VMY 2020. The official song for VMY 2020 was
launched in 6 September 2019. This song was composed by the Ramlan Mohd Iman, the Dean of
Music Faculty at Akademi Seni Budaya and Warisan Kebangsaan and the song lyric in the English
version was written by James P.S. Boyle (Vijaindren, 2019). Discourse analysis is employed to
analyse the song lyric and visual images of the official tourism video. The assessment carried out in
this paper primarily involves exploring how Malaysia has been framed as a “Truly Asia” destination
by the national tourism authority. Besides, types of resources and attractions that are selected to form
the representation of this country as “Truly Asia” destination are assessed in this paper.

4. Findings and Discussion

The assessment of the visuals identified that there are a number of key tourism attractions
represented in the promotional video for VMY 2020. One striking theme that is visible at the
beginning of the promotional video is presence of local people and their multi-ethnic cultural
heritage attributes. This clearly is evident as the promotional video begins with a strong colourful
stage performance of what appeared to be like a Malay dancer performing, followed by an image of
Kadazandusun girls wearing their traditional costumes standing on a field with a mountain as a
backdrop. An image of indigenous group as a host welcoming tourist to what appeared like a cultural
village was shown on the video too. The diversity of Asian culture was showcased at the start of the
promotional video with the display of Indian women adorned in saris complete with traditional
jewelleries, and one of them performed a Hindu ritual. Chinese cultural heritage performance
continued with children playing traditional Chinese drums and the celebration of lantern festival.

However, analysis of the song lyric discovered that cultural attributes are not directly depicted. These
aspects are ingrained in the song lyric through description of feelings and experiences. For example,
the third and fourth lines of the song say that “Stretch your hands, reach out, and touch. Feel our
love, rhythm, and dance in joy and delight.” As depicted in the theme song, cultural heritage
attractions mainly involved tourists’ experiences and feelings rather than just gazing at these
attributes. Furthermore, the diversity of cultures can be identified through the musical instruments
that are used in the promotional video. It is stated by Vijaindren (2019) that among multi-ethnic
musical instruments that was employed as part of the promotional video are gong, bungkau, bamboo
flute, tabla, kompang, sitar, erhu, and tangyu. The incorporation of musical instruments from several
ethnic groups living in Malaysia is evident as bungkau represents the Kadazandusun people, bamboo
flute and gong are part of the Malay traditions. Meanwhile, erhu and tangyu signify Chinese culture,
and tabla and sitar are Indian musical tools. The integration of traditional musical instruments
symbolises respect for heritage and traditions. Despite the inclusion of various musical instruments
from various ethnic groups, including the indigenous groups, only those familiars with these
traditional instruments can detect their presence through sound in the promotional video. From the
positive perspective, it is important to note that the promotional video appears very lively as some
of the traditional musical instruments involved fairly strong beatings of the apparatus. Additionally,
the incorporation of the dikir barat performance as part of theme song of “Visit Truly Asia Malaysia”
makes it even more energetic. Dikir barat is a type of musical form originated from the East Coast
of Malaysia and commonly performed in the state of Kelantan. This traditional show is a group
performance staged in a competitive way, which makes the promotional video more interesting.
Although the official theme song in the video was sung in English by Malaysian singer Idayu, the
inclusion of the dikir barat performance using the East Coast dialect as part of the song injects
element of Orientalism, which enhances its authenticity and exoticness. This is a reflection of the
popularity of inserting Orientalism traits, including Arabic verses in the pop music like the song

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 International Journal of Business and Economy
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titled ‘Desert Rose’. This finding supports the point made by Stiffler (2014) that the inclusion of
Middle Eastern attributes can enhance the attractiveness of tourism and hospitality industry,
especially in the globalised world today.

Various Malaysian popular gastronomy has been integrated into the promotional video to show the
presence of multi-ethnic cultural heritage. Several signature cuisines associated with multi-ethnic
societies, particularly associated with the three main ethnic groups in Malaysia the Malays, Chinese
and Indian are showcased in the “Truly Asia” promotion for 2020. Among the famous food and
beverages demonstrated include nasi lemak, char kuey teow, fried rice, satay, nasi kandar, roti and
curry, ketupat and sweet delicacies. Tropical fruits such as durian, mango, banana, and pomelo also
shown in the video can accentuate the uniqueness of Malaysia as an Asian destination.

As part of the “Truly Asia” destination, the recently launched promotional video also featured natural
resources as another primary attraction offered to tourists visiting Malaysia. The country’s
spectacular natural resources are directly represented in the lyrics of the song and visuals images. It
is manifested in the chorus part of the song that “Beautiful Malaysia … Feel the rainforest, the
mountains and beaches”. This verse showcases that three types of natural resources, the rainforest,
mountains, and the beaches are among core attractions in luring tourists to visit Malaysia. Malaysia’s
impressive natural assets are featured quite strongly in the form of visuals, including unique flowers
and wildlife, such as orang utan and rare birds. Visuals showed that there are various recreational
activities and adventures that can be enjoyed by tourists within the natural settings, particularly
water-based activities. In fact, nature has been shown as the background of some of the cultural
heritage attractions featured in the video.

Through self-representation of Malaysia as a “Truly Asia” destination for 2020 campaign, it is

evident Tourism Malaysia focuses their promotion on cultural heritage attributes as the fundamental
attractions. Various cultural heritage resources, including the people from numerous ethnic groups,
their lifestyles, music, cuisines, arts and crafts, are incorporated to highlight the uniqueness of
Malaysia as an Asian and Oriental destination to foreign and local tourists. Interactions between
hosts (locals) and guests (tourists) are among important part of experiencing Malaysia and creating
memorable moment. It is stated in the song lyrics and is apparent via visuals that Malaysians as hosts
are very friendly and they welcome tourists with open arms. These aspects are evident via the settings
of homestays, cultural village, and retail contexts involving locals serving and entertaining tourists.
It is also shown in the promotional video that tourists do not only consist of Western and foreign
tourists, but local visitors as well. This indirectly shows that Malaysians appreciate and enjoy
travelling within their home country. Not only that, it reflects that the rapid growth of this country
over the past years has improved the standard of living in Malaysia and enable them to travel.
Modernisation and familiarity elements are included in the “Visit Truly Asia Malaysia” 2020
tourism campaign. These characteristics are apparent through the images of high-rise buildings,
theme parks, developed resorts, and lifestyles associated with Westerners. These findings support
outcomes from previous studies (e.g. Yan & Santos, 2009; Ooi, 2005; Stiffler, 2017), which
mentioned that both elements of traditions and modernisation are reflected in tourism promotion.
Although the national tourism authority of Malaysia has power to represent Malaysia as a modern
and dynamic way, traits linked to traditional and aboriginal culture are still evident. Tourism
officials, including destination marketers, obviously incorporated these attributes to entice tourists
as it is claimed by earlier scholars (e.g. Britton, 1979; Silver, 1993; Selwyn, 1993) that employing
Orientalism characteristics is widely recognised as one of the approaches to draw tourists, especially
from Western countries. Although Said previously blamed the developed world for misrepresenting

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the least developing countries, it is uncovered that Oriental destinations, including Malaysia, is
utilising this strategy to attract tourists.

5. Conclusion
In short, this paper explored how Malaysia has been framed as a “Truly Asia” destination via the
promotional video produced for VMY 2020 campaign. Findings of this paper reveal that variety of
cultural heritage attributes associated with multi-ethnic groups and unity in diversity as main
attractions presented to tourists. Components of “Visit Truly Asia Malaysia” in the official video
consist of spectacular natural resources, gastronomy, sports and recreational attributes, and modern
attractions. It is also reflected within the lyrics and visuals that Malaysians are friendly and attentive
to tourists’ needs and wants. Indirectly, these can boost tourists’ experience and enable them to
create a memorable time in Malaysia. Overall, the integration of traditional and modern attributes
of Malaysia combined to project this country as “Visit Truly Asia Malaysia”.

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